We are delighted to announce that in December 2015 EJP received one of four Marion North Mentoring Awards, through the Bonnie Bird Choreographic Fund,

for her #TheSoloFilter research, in partnership with Tramway. This will see her receive mentorship throughout 2016 from an experienced and

established artist with a particular focus on challenging and documenting the research.

Photo by See Imagine Define 2015

“Researching Re-authorship

Questioning Criticism

Collaborating without Compromise”

Commenced in 2013, as means to:

Challenge EJP's practice as a dancer-choreographer:

- Through the acknowledgement that the she learns most about the process of making

when being a performer for other artists.

- Questioning what happens in 'the middle': Having worked with and interviewed many

practitioners EJP observed that people can tell you how to being creating, they will also

share how they refine the work but few are aware of what happens in between.

Offer an alternative to those dissatisfied with Liz Lerman's Critical Response Process.

- *EJP is an advocate for and uses CRP in her daily practice. However, following the

introduction of the technique across Scotland she observed that a number of people

were frustrated with the diplomacy of the technique and simply wanted to give their

opinion. Therefore, she wanted to devise a method created this opportunity and took

things one step further,inviting not only the opinion but challenging these people
to

realise it!

Challenge audience members, artists and critics to engage more deeply with performance work through seeing it not as something
to be judged but something to be played with.
- Stemming from the observation that people rarely discuss the work they have seen but

more so discuss the work they would have made, throughrepeatedlyediting and

sharing the variations of the work EJP hoped that post showdiscussion would

become more of a subjective dialogue than a series of critical monologues!

Evolution - Revolution and Devolution:

Having completed the initial research period, EJP quickly realised the model came with immeasurable benefits for both the dancer-choreographer, collaborators and
the audiences engaging with it. This led to the process becoming an integral part of EJPs practice and furthermore a piece of creative research that continues to grow as it unfolds.
She is currently exploring different formulas, language and practices that the process can use to realise its full potential.

AIM:

To develop the most effective models of exploring re-authorship as

ameans to encouraging a more rigorous dialogue in the arts

Dedicated to the research, EJP foresees it taking several years to complete however knows that with every new phase new questions are asked and that,
ironically, every participant would remodel it into the process they wish they had experienced!

With that, she is excited about seeing what journey the research takes and fully expects that as society, the arts sector and education continue to evolve the process may never
end....

***Disclaimer

EJP is an artist, not an academic! She is more excited by being in the studio and writing on paper with multicoloured pens than sitting at a laptop.
As such, is currently working on her documentation skills and uploading the research to the website. If you have any questions or
would like to discuss the research further she would be happy to meet you for a chat, she makes a lot more sense in person!!

Dancer-Choreographer has one week to develop a 'tour ready' 20-25 minute performance, shared with a live audience at the end of the week.
Collaborator One is shown this performance on a Monday morning from where they have one week to re-author the work into the piece they wish they had seen, sharing it to an audience at the
end of the week. This process then repeats with Collaborator Two and Collaborator Three. The original artist then returns to the studio for a week to re-author the work
having experienced all three filters.

#TheSoloFilter Shorts:

1. Variations: Where all collaborators re-author the original work.

2. Consequences: Where collaborators re-author the work of the artist working before them and their work is re-authored by the next
collaborator.

3. Where an additional collaborator connects the work to create one fluid performance.

Self selecting collaborators, re-author a short work (5-8 mins)
over ninety minutes. Several collaborators work over the course of one day and the results are shared consecutively in an evening of performance allowing audiences to engage with work
through the eyes of many filters. This element has been explored in several locations but most recently with the support of City Moves Dance Agency and Creu Cymru, as part of Cardiff Dance
Festival.

#TheSoloFilter

Restaging and Engaging

Initially trialled with Tamsyn Russell supported by City Moves Dance
Agency as part of their Adventures In Authorship strand of Dance Live 15.

Two choreographers are invited to
re-author each others work over a longer duration relative to the length of the work. Both the original pieces and variations of the work
are presented in an evening of performance, with a post show discussion centred around re-authorship.
This process, so far, has been shown to engage audiences on a much stronger level as they have multiple points of reference to connect with the work; including identifying
choreographers signatures, comparing the variations and witnessing different sides to the performer.

#TheSoloFilterCoaching Project Model:

Inspired by the coaching projects offered at Impulstanz festival and designed to work within the festival set up.

Five dancers and eight collaborators undertake #TheSoloFilter over the course of five days.

The creative process happens in one day with each working day is a minimum of seven hours.

Collaborators/artists do not discuss the work until the process is
complete.

Each collaborator has the opportunity to act as an observer to the process and contribute to the
research

#TheSoloFilter

The Critical Pathway:

Designed to question the way in which work is programmed and the relationship between programmer, critic and audience member.

This strand also attempts to challenge choreographers who are invited into the studio with all of their tools but without being able to dictate the outcome of the work.

Pairing a programmer, critic and audience member (the collaborators) with a choreographer of their choice, collaborators
all re-author the same piece of work over the same timescale. The choreographer acts as a creative facilitator for the collaborator, bringing their experience and tools
to the studio but without imposing their creative opinion or signature. The works are shared in the same evening followed by a discussion questioning re-authorship and methods of
programming.

#TheSoloFilterMultiple Art Forms:

Using any of the models above the original work is made by a dancer-choreographer, musician and designer or digital
artist. Collaborators are then selected from each art form so with each filter the work is re-authored in three layers
of presentation.

#TheSoloFilterThe Work We Want:

Developed through EJPs experience making work for young audiences. Trialled with Great Feats, Dance Base.

A structure which enables young audiences to re-author work which has been specifically made for their age range.

The current model explores how an artist can act a facilitator for this process without imposing their vision.

It also expects that the young collaborators must watch the 'complete' work three times consecutively to ensure they are satisfied with the
performance.

#TheSoloFilterPerformance Installation:

Similar to the shorts model however over a longer duration with a sharing expected on the hour every hour.

Audiences are free to watch the re-authoring process or simply return to see
the complete works as they are performed.

Future collaborators are not allowed to see the any of the process prior
to their period of re-authorship.

#TheSoloFilterGroup Model:

#TheSoloFilter is not limited to the re-authoring of solo work however group dynamics call for a different set of guidelines to ensure the choreographers and collaborators gain the most
from the process.

Currently yet to be explored to an extent where conclusions can be drawn.

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Living Room Performances receive support from Creative Scotland's Open
Fund.